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KRISTIAN FREDRIKSON by MICHELLE POTTER DESIGNER Foreword: MAINA GIELGUD, AO

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KRISTIAN FREDRIKSON by MICHELLE POTTER DESIGNER Foreword: MAINA GIELGUD, AO Book Release M July 2020 Melbourne Books KRISTIAN FREDRIKSON by MICHELLE POTTER DESIGNER Foreword: MAINA GIELGUD, AO ... the first in-depth account of the work of one of our most acclaimed designers and one of the few books to look at the collaborative role that design has had in the performing arts in Australia and New Zealand. — Graeme Murphy, AO This book examines the life and career of acclaimed designer, Kristian Fredrikson (1940–2005), who worked across genres of theatre, dance, opera, film and television. His collaborations with leading choreographers and directors saw scenes of unleashed imagination, breathtaking beauty and impeccable craftsmanship, pulsing with human emotion. Born in Wellington, New Zealand, Fredrikson began his design career working with a small, amateur operetta company in Wellington. He then went on to establish a major, five decade-long career in Australia, returning to New Zealand on occasions to design for opera and ballet. During the 1970s Fredrikson worked extensively with Melbourne Theatre Company where he met the then-emerging Australian choreographer Graeme Murphy. This was to be a turning point in his life and in 1979 he made his first work for Murphy’s Sydney Dance Company, a mysterious and exotic Shéhérazade. Those years were also when he began an association with the Australian Cover image: Kirsty Martin in the Australian Ballet production Opera, which included a production of Lucrezia Borgia in which of Nutcracker. The story of Clara. Photo Branco Gaica Dame Joan Sutherland sang the lead. The 1970s were also the years when he began a long association with the Australian Ballet, which lasted until the year of his death. The author In the 1980s, Fredrikson was persuaded to return to New Michelle Potter is a writer, curator and historian with a doctorate Zealand to design works for Royal New Zealand Ballet. in art history and dance history from the Australian National University. Michelle was inaugural Curator of Dance at the Swan Lake was the ballet he admired above all and the book National library of Australia, 2002 – 2006, and Curator, Jerome examines two New Zealand productions, two Australian ones, Robbins Dance Division, New York Public Library for the and one (his final work) in Houston, Texas. ‘I was willing to Performing Arts at Lincoln Center, New York City, 2006 – 2008. die for my art,’ Fredrikson said. And he did, with the Houston Swan Lake still in preparation. Michelle is the recipient of an International Dance Day Award (1996), two Australian Cultural Studies Awards (1998 & 2000), Fredrikson was the recipient of many prestigious design awards and two Australian Dance Awards (2001 & 2003). She also over the course of his career. They include Erik Design, Penguin, received a 2012 Scholars and Artists in Residence Fellowship AFI, Green Room, and Helpmann Awards. In addition he at the National Film and Sound Archive to investigate the film received an Australian Dance Award for Services to Dance. and television commissions of Kristian Fredrikson. Published by Melbourne Books RRP: AUD$59.95 ISBN: 9781925556506 www.melbournebooks.com.au For all queries: [email protected] Hard cover with jacket, colour images throughout Tel: (+61 3) 9662 2051 290x210mm portrait, 248 pages Book Release M July 2020 Melbourne Books CHAPTER 3 Into the Seventies ‘… he is able to create a world that fires the imagination’— Nadine Amadio.1 46 47 Harry Baker, costume design Fredrikson, design for The Gypsy Baron, Opera- for A Night in Venice, Technique Inc., Wellington Opera-Technique 1960, from a card produced Inc., Wellington 1962. by the National Dance Australian Performing Archive of New Zealand Arts Collection, Arts Centre Melbourne. Reg. no. 1999.118.122 Ultimately, of course, Fredrikson developed his own style, although arts writer Jane Albert has suggested that it may not have been an ‘instantly recognisable o n e’. 7 But Fredrikson’s style did have a number of traits, that are discernible throughout his career. Notable among them is a strong interest in historical accuracy. Although the nature of his designs often reflected scheduling, budgetary matters and the company for which he was working, the research notes that accompany so many of his designs indicate the extensive work he undertook prior to and while designing a particular work, or while collaborating on the development of a new narrative for a well-known play, opera or ballet. He explained to a journalist his detailed research and design process for the opera Lucrezia Borgia: After you’ve read the opera itself, you look and see how the first opera company treated it. Then you look back to the period itself—in the case of Lucrezia Borgia it was 1519, the last year of her life—and you study the paintings of whatever artist was around at the time. Unfortunately, there are very few authenticated portraits of Lucrezia and those were done when she was very young. The main artist who helped me with my ideas was Raphael, and he of course did very few portraits at all. In the end you put all the things together in your mind, think of the melodrama of the story and I’ve bounced the whole period off and tried to create a fantasy.8 But he also spoke about transforming, or inventing a period: The problem is most of us don’t know true period. We look at a Watteau painting and we say, ‘Oh, that’s how they dressed in Watteau’s time.’ Well they didn’t Watteau made up his own people. We look at Rembrandt and say, ‘That’s how they dressed in Rembrandt’s day.’ They did not. Rembrandt created costumes for them … Our understanding of the past is so unreal that even if I do the real history, it’s surreal. And I suppose that’s what I do. I go towards the real history and that seems extraordinary.9 He also had an ongoing interest in wanting to ensure that his costumes worked to give those who wore them an understanding of their character. One of his most treasured commissions came from Sydney Theatre Company to design costumes for its 2004 production of Henrik Ibsen’s Hedda Gabler. In particular it gave Fredrikson the opportunity to work with Cate Blanchett, iconic Australian star of the international stage, who played the leading role of Hedda. For Blanchett he designed three gowns—a light greyish-green patterned dress, pleated at the back and split up the front, which moved with swinging elegance as Hedda 168 169 CHAPTER 8 THE ULTIMATE BALLET: SWAN LAKE One of the most sought-after gifts by a designer would be to have several opportunities in one lifetime to explore ‘The Lake of Swans’ — Kristian Fredrikson.1 196 197 Kristian Fredrikson: Designer sample spreads Published by Melbourne Books RRP: AUD$59.95 ISBN: 9781925556506 www.melbournebooks.com.au For all queries: [email protected] Hard cover with jacket, colour images throughout Tel: (+61 3) 9662 2051 290x210mm portrait, 248 pages .
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